Art Principles In Portrait Photography

How to Apply the Highest Classic Artistic Principles to your Photography.

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STABILITY
portion or the place occupied by the figure is over burdened, congested with material, while all about is a space saying nothing. The image is not fully " alive," it is "posed," conventional, unnatural, certainly not touched by art. It reminds us of the photographs of statuary made to suggest the originals in museums. Such photographs aim at nothing more than to give a scientifically correct idea of the originals for us to analyze, study, and enjoy. But let not the photog rapher think he is making a picture when he reproduces such a statue. It can never be a picture because the subject is not nature but a work of art. There is, therefore, nothing for the photographer to "treat"; he cannot intensify its beauty, he can only awaken in us by his reproduction a desire to see the original with its direct and inexhaustible loveliness. His photograph in this instance is only the reminder, as a photograph of a machine is a reminder in the advertisements of to-day. What should be done in such a case is to render the whole as clearly as possible, but that is not the office of the photographer when dealing with the portrayal of the human being. Such a portrait should not be a reminder but a direct conveyer of enjoyment. The person must appear to live in our presence. If its office were only to remind us of some one, the portrait and the tombstone would be of like nature, but they are, in truth, of opposite intent. The person lives in
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